The focus of this paper explores the role of heavy metal music in the Middle East and North African (MENA) region, and how this genre of music, with its emphasis on societal critique, was dealt with by the authorities in attempts of censorship during the highly publicized Moroccan Satanism Trials in 2003. Religion and law intermingle at every step in dealing with the heavy metal scene and those who participate within it, particularly associated with the representations and imagery of Satan linked to the charges and accusations against the accused participants. As Morocco and the MENA region have continued to see increasing percentages of youth in their overall populations, resistance and backlash through expressive forms have become increasingly common in response to limited opportunity and possibilities for stable futures. This paper will be grounded in discussions of music and its historical use as alternative and unsilenced histories, as well as discussion of the genre of heavy metal working to become a focus for community building for youth in Morocco and in the broader confines of the Middle East and North Africa. I will examine music and its relations to Islam briefly, as well as a look into the functions and motivations for use of the genre of heavy metal by current youth populations. Who are the people who chose to use this form of expression in order to attempt to shift their everyday norms? What have these Satanism trials done for the future of Morocco and the MENA area? Through an examination of the heavy metal movements and their associated Satanism trials in Morocco, this paper discusses the how law has been activated in these situations, the community that has been growing from this genre of music, and the government’s efforts of censorship; this music genre has continually applied pressure to authorities, and have, even if in small ways, inspired hope for citizens that MENA countries begin to shift forms of government to forms that will welcome more freedom of speech and action.